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■ Related Organizations ■ Recommended Maga- 
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much, much more! 

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JULY/AUGUST 1992 
VOLUME 15, NUMBER 4 

CTR EDITORIAL BOARD 

Dirk Koning, Chair 
Paula Mantey, Information Services Chair 
Larry Beer, Lynn Cariilo, Bob Devine, 
Heidi Mau, Vel Wiley 

EDITOR-IN-CHIEF IBIS ISSUE 

JackSchommer 

MANAGING EDITOR 

Tim Goodwin 

OPERATIONS 

Sue Fitzgerald, John Haafke 

NFLCP NATI0NA10FFICE 

T. Andrew Lewis, Executive Director 
Shirley A. Carter, Office Manager 

NFLCP BOARD OF DIRECTORS 

Andrew Blau, Chairperson 
Fernando Moreno, Vice Chairperson 
Kari Peterson, Secretary 
Carl Kucharski, Treasurer 
Fiona Boneham, Pamela Brown, Alan Bushong, 
Brian Girtman, Karen Helmcrson, James Horwood, 
Paula Manley, Sharon Mooney, Julie Omefchuck, 
Gerry Paulsen, Penelope Place, Anthony Riddle, 
Maria Rocha, Mark Sindler, Greg Vawter, 
David Vogel, LaMonte Ward, Rika Welsh. 



Community Television Review is published bi- 
monthly by the National Federation of Local Cable 
Programmers. Subscriptions $15 a year for six 
issues. Send subscriptions, memberships, address 
changes and inquiries to the NFLCP, 666 11th St. 
NW, Suite 806, Washington, DC 20001-4542. Phone 
202/393-2650 • Fax 202/393-2653. 

Address editorial and advertising inquiries to 
Community Television Review, 15 Ionia SW, Suite 
201 , Grand Rapids, MI 49503-41 13. Phone 616/454- 
6663 'Fax 616/454-6698. 

Bulk orders for additional copies considered 
individually. Contact the national office for 
information on rates and delivery. 

c 1992 by the National Federation of Local Cable 
Programmers, Inc. Non-profit organizations may 
reprint items from CTR (with exception of 
materials copyrighted by others), providing CTR is 
credited and the NFLCP notified of reprinting. All 
others must obtain advance written permission. 

Produced through the stiuiios of City Medio, inc. 




In this Issue 



2 Public Policy Update, Alan Bushong 

Video Dial Tone, Electric Shopping Malls and You. 

3 Connections 

Critical Media Symposium, Trainers Newsletter, Video 
Festivals, Deep Dish Fall Season. 

4 International Update, Karen Helmerson 

International Reception, News, and Networking. 

5 1992 NFLCP National Convention 

1,012 Gather along the Mississippi in St. Paul, Minnesota. 

6 Convention Keynotes, Jack Schommer 

Excerpts, Pictures and More, 

1 National Community Network?, Dirk Koning 

A CTR Interview with NCN President James W. Dickson, 

1 1 Hometown USA Video Festival 

The Winners, the Story, the Bicycle Tour, 



Introducing the Alliance for Community Media 



No one said it would be easy. After a 
level of discussion and debate befit- 
ting an organization committed to 
free speech and democracy, delegates to the 
1992 Convention succeeded in selecting a 
new name for the NFLCP. The re-naming 
effort was the culmination of a year's work 
involving regional brainstorming sessions, a 
membership survey, and the active partici- 
pation of more than 300 people during the 
Convention. 

In becoming the Alliance for Community 
Media, our organization will benefit from 
having a name which, is shorter and easier to 
remember. More importantly, the new name 
is not limited to cable. As the telecommuni- 
cations infrastructure continues to evolve, it 
is imperative that the organization encom- 
pass any media tools and delivery systems 
with the potential lo help accomplish our 
purpose: community communication. 



, : The names 
Alliance for 
Community 
Media and 
NFLCP will 
be used 
jointly for a 
transition 
period of at 
least a year. 
Between now 
and the 1993 Convention in Atlanta, all 
NFLCP materials will be revised and a new 
logo will be developed. An official "launch" 
activity wili be planned during the Atlanta 
Convention. 

Thanks. to the NFLCP's New Name Task 
Force for spearheading the re-naming effort. 
Members were Kari Peterson, Mike Henry, 
Dirk Koning, Dorothy Thigpen and Paula 
Manley, chair. 




CTR july/August 1992 1 



1992 93 NFLCP BOARD OF DIRECTORS 



OFFICERS 



Andrew Blau Chair, At-Large 

Electronic Frontier Foundation 

666 Pennsylvania Ave. SE, Suite 303 

Washington, D.C. 20003 

202.544.9237 202.547.5481 fax 

Fernando M oreno Vice-Chair, At-Large 

Training Coordinator, Quote .. .Unquote 

1905LomasNW 

Albuquerque, NM 87104 

505.243-0027 505.243-5883 fax 

Kari Peterson Secretary, At-Large 

Executive Director, 

Davis Community Television 

1623 5th Street, Suite A 

Davis, CA 95616 

916.757.2419 9 16.757.2938 fax 

Carl Kucharsld Treasurer, At-Large 

Executive Director, ACTV Cable 21 
394 Oak Street 
Columbus, OH 432 15 

614.224.2288 614.224.5401fax 



REGIONAL CHAIRS 



Pamela O, Brown Midwest Regional Chair 

22 West 500 Tamarack Drive 
Glen Ellyn.IL 60137 

708.469. 1 704 708.469. 1 704 fax 

Brian Girtman Northwest Regional Chair 

Technical Coordinator 
Portland Cable Access 
2766 Martin Luther King, Jr. Blvd. 
Portland OR 97212 

503.288.1515 503.288.8173 fax 

Gerry Paulsen Far West Regional Chair 

5 110 Thomas Drive 
Auburn CA 95602 

916.878.2488 916.885.4182 fax 

Penelope Place Mountain States Reg. Chair 

Executive Director, Santa Fe Public Access 

Santa Fe Community College 

So. Richards Ave. 

Santa Fe, NM 87502-4 187 

505.438.1321 505.438.1237 fax 

Greg Vawter Central States Regional Chair 

Executive Director 

Waycross Community Television 

2086 Waycross Road 

Forest Park, OH 45240 

513.825.2429 513.825.2745 fax 

David Vogel Southeast Regional Chair 

General Manager, CTV of Knoxville Ch. 20 
912 S. Gay St., #600 
Knoxville, TN 37902 

615.521.7475 615.971.4517 fax 

Rika Welsh Northeast Regional Chair 

Executive Director, MATV 
145 Pleasant St. 
Maiden, MA 02148 

617.321.6400 617.321-5133 fax 



COMMITTEE CHAIRS 



Alan Bushong 

Executive Director 
Capital Community Television 
585 Liberty Street, SE 
Salem, OR 97301 



Public Policy Chair 



503.588.2288 



503.588.6055 fax 



Karen Helmerson 

International Committee Chair 

Director of Finance, Film/Video Arts 
817 Broadway 
New York, NY 10003 

212.673.9361 212.475.3467 fax 

Paula Manley Information Services Chair 

Executive Director 
Tualatin Valley Community Access 
1815 NW 169th PI. #6020 
Beaverton, OR 97006 

503.629.8534 503.645.8561 fax 

Julie Omelchuck 

Organizational Development Chair 

Director 

Multnomah Cable Regulatory Commission 
2115 SE Morrison, Km 236 
Portland, OR 972 14 

503.248.3576 503.248.3048 fax 



DISCRETIONARY APPOINTEES 



James Horwood 

Attorney-at-Law 
Speigel & McDiarmid 
1350 New York Ave NW #1100 
Washington, DC 20005 



Legal Affairs 



202.879.4000 



202.393.2866 fax 



Maria Rocha Coalition Development 

President, Local 1624, AFSCME 
6714 Tampa Cove 
Austin, TX 78723 

512.322.6331 512.477.2962 fax 

LaMonteWard Equal Opportunity 

Administrative Director 
Tucson Community Cable Corp. 
124 E. Broadway, Tucson, AZ 85701 
602.624.9833 ' 602.792.2565 fax 



AT-LARGE 



Fiona Boneham 

480 6th Avenue 
Brooklyn, NY 11215 
718.768.5999 
Sharon Mooney 
Executive Director 
Buffalo Community Television 
101 LaSalie Avenue 
Buffalo, NY 14214-1494 
716.838.8196 
Anthony Riddle 
Executive Director, MTN 
125 SE Main Street 
Minneapolis, MN 55414 
612.331.8576 
Mark Slndler 

Louisiana Center for Cultural Media 
2026 St. Charles 
New Orleans, LA 70130 
504.529.3366 504.523.7875 fax 



NFLCP STAFF 



At-Large 

718.768.5999 fax 
At-Large 



716.838.0221 fax 
At-Large 



612.331.8578 fax 
At-Large 



T. Andrew Lewis 
Shirley A. Carter 

NFLCP 

PO Box 27290 

666 11th St. NW,Ste.806 

Washington, DC 20001 

202.393.2650 



Executive Director 
Office Manager 



202.393.2653 fax 



Public Policy Update 

by Alan Bushong, Public Policy Committee Chair 

Video Dial Tone, Electric 
Shopping Malls and You 

Imagine a highway system that looks like this: 
every time you drive your car to the end of your 
driveway, you throw change into a money basket 
and a gate rises to allow you entry onto your street. 
You continue to pay tolls each time you seek entry 
to anew street or highway. You have no alternative: 
all of the streets and highways have tolls. The longer 
and the farther you drive and the more gateways 
you pass, the more you pay. 

Toll rates are set by a private company which 
owns not only your street, but every street and high- 
way in your community and the region. This gigan- 
tic monopoly is regulated at the federal level by an 
agency with little time, interest or resources for 
oversight. In addition, this monopoly is allowed to 
compete with you and others and sell additional 
transportation services without regulation. The pri- 
vate street monopoly wants even more: the ability to 
have unlimited ownership of buses and trucks using 
the streets. 

Sound far fetched? Prone to conflict of interest 
and special privilege? Naive? Dangerous? Like you 
have no say in the use of streets critical to every 
aspect of your life? 

It sounds like the FCC's video dial tone policy. 
With the use of relatively new technologies such as 
fax, modems and teleconferencing, our society is 
increasingly moving information instead of people. 
We would not tolerate the scenario described above 
for our streets and highways, yet we face an equally 
dangerous control of our information highway sys- 
tem of the future. 

The Electronic Shopping Mall 

Nearly 100 national conference participants at St. 
Paul spent several crowded sessions learning about 
video dial tone as outlined by the FCC, and brain- 
storming potential responses to sketchy yet omi- 
nous details. According to information available in 
July, video dial tone would create an "electronic 
shopping mall" in which a private monopoly, the 
telephone company, would own the communica- 
tions network and sell time and channel space for 
any voice, video or data use. The community would 
continue to own the cable right of way, the "prop- 
erty" on which the mall was built, but would have 
no franchise to guarantee local oversight and regu- 
lation of the monopoly. Community access to televi- 
sion channels and studios would disappear. 
Although the mall would be built on public prop- 
erty, there would be no room for the public. 

After discussing the increasing corporatization of 
media and communications, and the corresponding 
loss of local decision-making, conference partici- 
pants developed the following list of broad strate- 
gies: 

1. Develop a national NFLCP campaign, including 
PSAs and a speaker's bureau. 



Continued on page 4 



2 July/August 1992 CTR 



Connections 



Critical Media Symposium 
October 8 10 in Cincinnati 

Media Working Group, a non- 
profit media cooperative, will hold 
a critical media symposium, 
Democratic Media Interventions: 
Strategies for a New Politics of 
Representation, Ociober 8-10 in 
Cincinnati, OH. 

The symposium will be on criti- 
cal media. "interventions" by 
African-Americans, Appalachians, 
avant-garde/performance artists, 
feminists, gays and lesbians, inde- 
pendent producers, Native Ameri- 
cans, public access activists, schol- 
ars, and others challenging conser- 
vative domination of mainstream 
media. It will explore strategies for 
creating a diverse and tolerant 
democratic society through critical 
media education and practices. 

Featured will be Joan Brader- 
man, award winning video artist 
and writer, stand-up theorist, pro- 
fessor of television production at 
Hampshire College; Zeinabu Irene 
Davis, independent filmmaker, 
professor of film and audio pro- 
duction at Northwestern Univer- 
sity and a 1991 Rockefeller Inter- 
Arts Media Fellow; Doug Kellner, 
social theorist, professor of philos- 
ophy, University of Texas, and 
author of Television and the Crisis 
of Democracy, Camera Politica 
and other works; Austin Allen, 
independent producer and profes- 
sor of commmunications, Cleve- 
land State University; Bob Devine, 
chair of the Communications 
Department, Antioch College in 
Ohio; and others. 

Registration is $45 (scholarships 
available). For more information, 
contact Nyoka Hawkins, Sympo- 
sium Coordinator, at 606/581-0033 
or Fred Johnson, Media Working 
Group, at 606/581-0033, or write 
c/o MWG Symposium, 445 Bristol 
Road, Lexington, KY 40502. 

Trainers SIC to Publish 
Quarterly Newsletter 

In an effort to share information, 
the Access Trainers Special Inter- 
est Group is putting together a 
publication that will be distributed 
to all access centers initially and 
then to those wishing to join the 
SIG. Called On Track, it will feature 
articles on training philosophies, 
bulletin board use, effective 
metaphors, results from trainer 
surveys, access center class pro- 
files, guides to available training 
resources and classified ads. SIG 



members eventually will have 
access to adatabase of who's doing 
what where, for how much and 
how to get a hold of them. 

Submissions and suggestions 
may be directed to Chuck Peter- 
son, GRTV, 50 Library Plaza NE, 
Grand Rapids, MI 49503. (616)459- 
4788/ FAX(6 16)459-3970. 

National Student Film 
and Video Festival 

Film Front has announced its 
5th Annual National Student Film 
and Video Festival Established in 
1986 to provide a forum for college 
and university filmmakers, the fes- 
tival is open to all student video 
and filmmakers in the United 
States who have produced works 
on the college or university level. 

Entry deadline is October 12 
1992. Films and videos must have 
been completed after May 1, 1990. 
Entries must be 16mm (silent or 
optical sound), 3/4" VHS, Beta or 
Video 8 format. Camera originals, 
films containing splices, separate 
tracks, and film-to-video transfers 
will not be accepted. Eight awards 
will be given, which will include 
cash, trophies, film and post-pro- 
duction services. 

For entry fees or information, 
contact the Film Front National 
Student Film and Video Festival, 
c/o Film Front, 206 Performing 
Arts Building, University of Utah, 
Salt Lake City, UT 84112, or call 
801/468-6213. 



National Educational Film 
and Video Festival 

The National Educational Film & 
Video Festival is accepting entries 
for its 23rd annual competition. 
Top winners will be eligible for the 
Academy Award competition in 
documentary and short subject. 

Eligible productions include doc- 
umentaries, dramatic features and 
shorts, animation, classroom pro- 
grams, medical/health programs, 
training/instructional tapes, spe- 
cial interest videos, made-for-TV 
programs, PSAs, film and video art, 
student-made documentaries and 
narratives. Formats include film, 
video, and interactive media com- 
pleted between January 1, 1991 
and December 1, 1992. 

Deadline is December 1, 1992. 
For entry fees or information, con- 
tact them at 655 Thirteenth Street, 
Oakland, CA 94612 or call 510/465- 
6885. The festival will be May 18-23 
in Oakland and San Francisco. 

International Women's 
Day Video Festival 

Women from across the nation 
and around the world are invited to 
submit videotapes exploring the 
theme The 1990s: How WE See It to 
the 9th Annual International 
Women's Day Video Festival. The 
festival provides women from a 
variety of cultures the opportunity 
to exchange news, perspectives 
and insights through videotapes 
produced by women that reflect 



personal, political, social, histori- 
cal and community issues. 

The festival is March 7, 1993,a 
five-hour cablecast in the Boston 
area, and will then be made avail- 
able to public access channels 
nationwide. 

Deadline for entry is December 
1, 1992. For entry forms or infor- 
mation, contact International Wo- 
men's Day Video Festival, PO Box 
391438, Cambridge, MA 02239, or 
call Somerville Community Access 
Television at 617/628-8826. 

17th Atlanta Film 
and Video Festival 

IMAGE Film/Video Center is tak- 
ing entries for the 17th Atlanta 
Film and Video Festival. The festi- 
val was founded in 1976 to pro- 
mote and support film and video 
as an art form. 

Entry fees are $30 for all works 
($25 for students and IMAGE 
members), $40 for works entered 
by a distributor, and $45 for works 
from Canada. All works must have 
been completed after January 1, 
1990. Only independently pro- 
duced films and videos please. 

Deadline is December 18, 1992. 
For entry form, or more informa- 
tion, contact Claire Reynolds, 
IMAGE Film/Video Center, 75 
Bennett St. NW, Suite M-l, Atlanta, 
GA 30309, or call 404/352-4225. 

NFLCP Bulletin Board Lives! 

To connect, call 217/359-9118, 
and set your computer modem to 
300, 1200 or 2400 baud, 8 bits, 1 
stop bit, no parity. 



Deep Dish TV Rocks the 

Deep Dish TV will kick off its 1992 fall series, Rock 
the Boat, October 6 with Word! Your Voice is a 
Drum, featuring highlights from the keynote 
speech and performances at the NFLCP's 1992 
Convention in St. Paul, MN. 

The fall series is a critical examination of the 
Quincentenary of Columbus' arrival in the Americas. 
Rock the Boat is a video testament to Native American 
survival and a prelude to 1993, the International Year 
of Indigenous Peoples. 

Starting October 6 and running through December 
24, Deep Dish cuts through Eurocentric myths of "dis- 
covery" with video by and about indigenous people 
that examines the diversity of Native America. Rock the 
Boat presents an alternative view of contemporary 
indigenous struggles over such issues as natural 
resources, education, and identity itself, 

On October 13, following Columbus Day, Deep Dish 
will present a live special from Albuquerque, NM, a TV 
Teach-in on environmental racism, organized by the 



Boat with new fall series 

South West Organizing Project (SWOP). Viewers will be 
invited to call in live to join activists as they create 
strategies for securing a socially just and environmen- 
tally balanced future for the next 500 years on Earth, 

Other programs in the series will approach the 
Quincentenary from geographically different angles, 
with contributions from the Caribbean basin, South 
America and Spain. In others, the unheard voices of 
Native American women, young people, lesbians and 
gay men tell their own stories of self-discovery. 

Deep Dish TVs fail series is offered free of charge via 
satellite for noncommercial use to public, educational 
and municipal access cable channels as well as home 
dish owners. Satellite transmissions will be on SAT- 
COM 4, transponder 20, nowthrough December 24, on 
Tuesdays from 1:00-2:00 p.m. and Thurs-days from 
6:00-7:00 p.m. (Eastern time). 

For more information, contact Cynthia Lopez at 
Deep Dish TV, 339 Lafayette St., New York, NY 10012, 
or call 212/473-8933. 

CTR July/August 1992 3 



International Update 

by Karen llelmerson, International Committee Chair 

July '92 International Reception 

For the past three years, the International 
Committee has hosted a reception on 
Wednesday evening, prior to convention work- 
shops and activities. The Internationa] 
Reception provides an opportunity to honor all 
community producers around the world. This 
year, to celebrate "Democracy in Communica- 
tion; Latin America", the reception took a turn 
from the usual informal gathering in the hotel 
lounge to a larger and more formal event in the 
garden mezzanine. 

Over one hundred people attended the 
reception. This year's international guests who 
represent community media efforts outside the 
United States; were: Martina iverus of 
Sambandet and Hanna Hanski of TV Soder, 
both from Sweden; Chris Kwant of Televisie 
Lokatel in Den Haag; Tracey Naughton from 
Australia; Nico van Eijk of OLON in the 
Netherlands; Alistair Herron from the 
University of Ulster in Belfast, Ireland; and Luiz 
Santoro, from Sao Paulo, Brazil, who repre- 
sented Videazimut of Montreal, Canada. 

Aided by a generous contribution from the 
City of St. Paul, hors d'oeuvres and refresh- 
ments provided the background for a presenta- 
tion which included segments of the winning 
tapes from the "Democracy in Communi- 
cation" film and video festival. Karen Ranucci, 
coordinator for the festival (a collaboration of 
the International Committee and the 
International Media Resource Exchange), 
spoke briefly about the project. Deep Dish 
Satellite TV Network will be transmitting a pro- 
gram of selected works from the festival free to 
cable access centers around the country. 
Copies of the program will be available for 
those who are unable to receive this package 
via satellite. 




Karen Ranucci opens the International Re- 
ception at the national con vention. 

Although the reception focused on the Latin 
American community media project, there was, 
in addition, a special announcement from Jean 
Noel Rey of the French Consulate in Chicago. 
Minneapolis Television Network (MTN), 
through a proposal aided by Jean Noel, in con- 
junction with Alliance Francais, France 
Telecom and U.S. West Community Link, has 
been granted $15,000 to purchase a satellite 
dish for the purpose of distributing French pro- 
gramming throughout the Minneapolis/St. Paul 
area 

Following the presentations of Ranucci, Jean 
Noel, and the introduction of our international 
guests of honor, the evening continued for a 
couple of hours in a buzz of conversation, food 
and refreshments. 

This year's International Reception brought 
together a variety of community media inter- 
ests, representatives and ideas - from corporate 
telecommunications to foreign ministries of 
culture, from the individual producer to 
national organizations. Wtih this spirit of col- 
laboration and information exchange, 
International looks forward to the 1992-93 



PUBLIC POLICY UPDATl 

continued from page 2 



2. Educate and develop support within our 
communities; "sell" the benefits of access. 

3. Consider new technologies and access in 
the broadest sense, not just "cable" access. 

4. Develop a model for local democratic com- 
munications; i.e. libraries, green spaces. 

5. Build coalitions with cities, National 
League of Cities, NATOA. 

6. Mobilize! Work within the NFLCP and like- 
minded organizations. 

7. Encourage people to change the national 
leadership. 

8. Create a New Technologies Committee and 
focus on the future. 

You 

The success of efforts to make media respon- 
sive to community needs and available to all for 
local information and decision-making is up to 

4 July/August 1992 CTR 



you. NFLCP members often occupy key posi- 
tions in the community regarding media edu- 
cation and access. Every day, many of us see 
the people whose rights are at stake with the 
actions of Congress and the FCC. . 

Your community needs your help. The 
NFLCP is developing a campaign to assist local 
access centers and program providers in edu- 
cating their communities about communica- 
tions rights and opportunities and in elevating 
community input in decision-making pro- 
cesses. The success of this campaign hinges on 
action in your community and communities 
across the nation. 

Alan Bushong is Executive Director of Capital 
Community Television, 585 Liberty St., Salem, 
OR 97308-2342. Phone 503/588-2288. 



committee year and its role in supporting the 
growth and awareness of community media 
worldwide. 

The International Committee would like to 
thank the staff and volunteers at MTN, espe- 
cially Marido Huber, who coordinated this 
reception and made it a very special event. 

Thanks also to video festival prize donors: 
Crimson Tech of Cambridge, MA; Video Labs of 
Salem, Nil; Eastern Video Systems of Billricka, 
MA; Great Northern Video of Concord, NIT; 
GRTV of Grand Rapids, MI; Tucson Community 
Cable Corp. of Tucson, AZ; and to Randy Visser 
of SPTV, Chuck Sherwood of Cape Cod 
Community Access, and Rika Welsh of MCTV 
for securing the prizes. 

For more information about and/or a cata- 
logue of the Latin American tapes, contact 
Karen Ranucci, IMRE 124 Washington Place, 
NYC, NY 10014, Telephone: (212) 463-0108, Fax 
(212) 243-2007. 

International Network 

TAPES! BOOKS! MAILING LISTS! 

CATALOGUE: DEMOCRACY IN COMMUNI- 
CATION: LATIN AMERICA 1992 

Film and Video Festival 

This catalogue lists over twenty tapes by 
Latin American and U.S. Latino independent 
producers. Complete with a summary of the 
festival, and a synopsis, with running time and 
distributor, of each piece. 

Contact: Karen Hanucci, IMRE 124 
Washington Place, NYC, NY 10014: Telephone 
(212)463-0108. 

INTERNATIONAL MAILING LIST 

NFLCP Yellow Pages 1992 

This list contains 43 key contacts around the 
world - individuals and their respective organi- 
zations who attended the 1992 First Video 
Olympics of Community and Local TV in 
France of January 1992. 

For more information, contact: Tony Lewis, 
Executive Director, NFLCP, 666 11th St. NW, 
#806, Washington, DC, 20001-4542. Telephone 
(202) 393-2650. 

VIDEO THE CHANGING WORLD 

by Alain Ambrosi andNancy Thede 
° ... explores the variety of initiatives that 
have emerged the world over in the past 
decade,., the challenges... as well as the 
debates." 

Essays on the status and development of 
international community media by leading 
individuals from such areas as India, Brazil, 
Africa, Canada, and Hong Kong. 

For more information contact: VIDEAZIMUT 
c/o VIM; Alain Ambrosi and/or Nancy Thede; 
3575 boul. St.- Laurent, bur. 608; Montreal, 
Canada H2x2T7. Telephone: 514-982-0770. 

Karen Helmerson is Director of Finance at 
Film/Video Arts, 81 7 Broadway, New York, NY 
10003. Phone 212/673-9361. 



1992 NFCLP National Convention 



TELLING OUR STORIES: ONE DRUM, MANY DRUMMERS 

I, 012 gather along the Mississippi River in St. Paul, Minnesota 



More than 1,000 community 
media activists from across 
the nation, and the world, 
gathered in St. Paul, Minnesota for 
the 1992 NFLCP Convention and 
Trade Show, July 15-19, at the 
Radisson Hotel St. Paul on the 
Mississippi River. 

It was a week of news, and firsts. 
Ross Perot called it quits in the pres- 
idential sweepstakes, the courts said 
yes to video dial tone, and NFCLP 
members came away with a new name (see story page 
one) for the organization and a new-found sense of 
vision for the 1990s as the Alliance for Community 
Media. 

Participants from the Netherlands, Brazil, Canada, 
France, Sweden, Northern Ireland, Australia and from 
most of the 50 states shared their stories, ideas and 
knowledge about community media. From the opening 
beats of the Native American Drummers to the salsa of 
Batuque Brasilero, it was about communicating, if not 
necessarily with drums, then with each other. 

We talked of access and community action, of man- 
agement, of education, government and public access, 
of production, public policy and regulation, of training, 
of international and community collaborations and of 
the future. 

Along with more than 60 workshops, the convention 
also featured an International Reception, Latin 
American Video Festival and International Awards; the 
15th Annual Hometown USA Video Festival Awards 
from St. Paul's World Theatre; a Mississippi riverboat 
cruise; NFLCP Awards Luncheon; a tradeshow and 
exhibit; a party or two; and two keynote luncheons, that 
included comments from Utne Header publisher Eric 
Utne in the first and the storytelling of Hmong musician 
Zcng Su Yang; rapper Doug E. Fresh; storyteller/ video- 




ONE DRUM, 
MANY DRUMMERS 



maker Larry Johnson; Anishnabe 
poet, writer and basket-maker Jim 
Northrup; and Billy Yount of the 
Northern Sign Theater Company in 
the second. Excerpts of their stories 
appear on the following pages. 
Convention-goers were treated to 
tours of local facilities, and were 
able to sample convention video in 
their rooms. And there was no lack 
of alternative diversions in the Twin 
Cities, from art, to epicurean 
delights, to baseball games in the Metrodome. 

It was also a time for recognizing achievements, from 
the Hometown USA Video Festival winners, a list of 
which begins on page 11, to the NFI.CP's annua] awards 
of merit, which follow. 

Community Communications Awards 
Public Access - Columbus Community Cable Access, 
Columbus, Ohio. 
Institutional Access - BHC/The Educational 
Connection, Bloomfield Hills, Michigan. 
Local Origination - Cable TV North Center, 
White Bear Lake, Minnesota. 
BestRegion 
Northeast 
Best Chapter 
Minnesota 
Buske Leadership A ward 
Sharon Ingraham 
Stoney Humanis tic Communica tion Award 
Professor Herb Schiller 
We invite readers to taste the flavor, if not the sub- 
stance, of the 1992 National Convention on the follow- 
ing pages through the tales of the storytellers. Their 
message is universal, their method too. 



"We are awash in information - a tsunami of 
information. What's needed is not more information; 
what's needed is more discussion and debate with our neighbors. . .It's 
community that we're missing, and if television has the potential 
to build community, it will be through you. " 

Eric Utne, editor and publisher, the Utne Reader, 
from his speech to 1992 NFLCP Convention attendees. 




* In a recent article by 
Mark Mlnlnberg called 
Circumstances Within Our 
Control: Promoting Freedom of 
Expression Through Cable Tele- 
vision, he quoted Thomas 
Emerson saying... "The first 
amendment has four essen- 
tial values... Individual self 
fulfillment, advancement of 
Individual knowledge and 
the discovery of truth, par- 
ticipation In the decision 
making by all members of 
society, and achievement of 
a more adaptable and more 
stable community." That 
Individual and societal 
knowledge of the world, or 
truth Is accomplished only 
through a dynamic commu- 
nication process In which the 
Individual actively tests his 
or her Ideas against others. 
And finally Emerson holds 
that an effective system of 
freedom of expression 
depends on an abundance of 
raw materials In the form of 
information. Ideas and alter- 
native solutions and on 
development of the skills for 
developing and utilizing 
those raw materials In the 
form of the ability to under- 
stand, appraise and create. 
Those are our shared values 
In this room and that is why 
we are here. The existence of 
access and the existence of 
NFLCP are Inextricably inter- 
twined... in my heart I 
believe that being part of 
this organization has been 
the finest experience In my 
life and Its' most rewarding 
challenge. 9 

Past NfLCP Chairperson Sharon 
ingraham on accepting the Buske 
Leadership Award 



CTR July/August 1992 5 




Retelling the Tale 



Susan Robeson, Moderator 



Executive Producer, Commu- 
nity Affairs KTCA, Senior Produ- 
cer/Outreach Director, KTCA, St. 
Paul, Susan Robeson has been 
working in film and television for 
the past 18 years. She has pro- 
duced major documentaries for 
network television on political 
and cultural subjects. She is 
presently developing a feature 
documentary, Don't Believe the 
Hype: The Politics of Rap. 




Zeng Su Yang 

and Charles Numrich 

Zeng Su Yang is a traditional 
Hmong storyteller, musician and 
artist. Charles Numrich, who 
works with him in creative inter- 
pretation, is a director of Cre- 
ative Theater Unlimited, a dra- 
matist, storyteller, producer. 
Together they have worked to 
bring awareness of traditional 
Hmong storytelling art and 
music for the past nine years. 
They work regularly in the 
school systems and are members 
of the Minnesota State Arts 
Board. 




Billy Yount 

Billy Yount is a member of the 
Northern Sign Theater Company 
in Minneapolis, a company dedi- 
cated to providing cultural 
enrichment to the Hearing 
impaired community. 



TELLING OUR STORIES: ONE DRUM, MANY DRUMMERS 

1992 NFLCP National Convention 

July 15-19, 1992 • St Paul, Minnesota 




This is the telling of stories, an 
exploration of community 
access's role in oral tradition. 
The NFLCP 1992 Conference culmi- 
nated in a gathering of story tellers. 
Their methods, as diverse as their 
messages, however, were all bound 
by a common thread. One drum, 
many drummers. 

Speaking of empowerment 
through video, St. Paul councilman 
Bill Wilson warned of contaminating 
the oral tradition with the written word. You, the 
reader, must keep this in mind as the stories unfold 
here, Nuance of voice cannot be transposed to the 
page and is lost. The hypnotic power of the Native 
American drums is impossible to translate for the eye. 
Telling Zeng Su Yang's musical stories as they were 
carefully translated by Charles Numeric fails to express 
the visual images his ancient Hmong flute laid out for 
the audience. Billy Yount spoke eloquently without a 
single utterance and gave the uninitiated an insight to 
storytelling for the deaf. 

Though, because of page 
constraints, some segments 
have been left out, our 
attempt to bring you this 
recounting is alive with the 
message of oral tradition's 
power. A power to give voice 
to the disenfranchised and 
bring life to communities full of 
stories but void of forums for 
their telling. Empowerment for 
this diversity of voices is a 
strength many of us may not 
have tapped, yet. 

This celebration of stories and 
storytelling focused community 
media's role, a role laid out by 
Susan Robson's introductory 
remarks, 

-Jack Schommer, Guest VAitor-in-Chief 

Susan Robson 

The theme of this keynote is the word, the spoken 
word, the power of the spoken word, the primacy 
of the oral cultures and traditions and creating a con- 
sciousness of video as a form of oral culture. 

The form will be examples of storytelling from a 
number of different oral traditions. The great corner- 



ONE DRUM, 
MANY DRUMMERS 




stone of our existence as the 
human race since time began is the 
oral tradition - the preservation 
and transmission of knowledge 
through the spoken word. In soci- 
eties where writing does not exist, 
there is an intimate bond between 
people and the words they speak. 
Speech is the carrier of message's 
essential to the life of the group. It 
takes on a special significance that 
doesn't exist in societies that rely 
on the written word. 

In oral tradition, speaking or naming is tantamount 
to action, taking possession, creating. Oral tradition is 
total knowledge, it is not confined only to tales, leg- 
ends and mythical narratives recounted by old story 
tellers. Oral tradition is the great school of life, it deals 
with religion, with the natural sciences, mineralogy, 
the pharmacopoeia, with apprenticeship and skills, 
with history and games, with love, with death. It's total 
knowledge. 

Too often today the 
primacy of oral tradition is 
devalued, is forgotten, is 
marginalized as something 
that people think comes 
from a "so-called" primi- 
tive way of life. People 
make the mistake of think- 
ing that technology equals 
civilization. Oral cultures 
are labeled pre-literate 
and therefore considered 
ignorant and backward 
because they don't have 
the hardware of modern 
society. No computers, 
no television, no news- 
papers. The reality is 
they do not need tech- 
nology or the written word to communicate 
with one another. They do not need technology to 
become productive members of their societies, They 
rely on the spoken word to transmit information and 
preserve their history and the integral parts of their 
identity as a people and a nation one to another and in 
balance to the world around them. Each generation 
passes it down intact to the next for hundreds of thou- 
sands of years. Storytelling is the mechanism. It's the 
means of transmission. It's the informational glue, 

A typical teenager born and raised in the context of 
an oral culture knows more history than the average 




6 July/ August 1992 CTR 



teen today, who is lucky to be able to go back more 
than two or three generations in his or her own family. 
There is power in knowing who you are and where you 
came from. It lets you know where to go and how. 

What does this have to do with cable TV? The essen- 
tial value of public access television is that it enables 
people to tell their own stories in their own voices. It 
enables video culture to take on the power of oral tra- 
ditions. Public access TV helps make video, in the con- 
text of our electronic technological society, what the 
word is to the oral culture - the power and the glue. 
Video can be this in our society by creating a certain 
consciousness, one that mandates operating on the 
basis of inclusion. It means fighting to make sure that 
you do provide access to those who don't have a voice 
in your community and you cannot do this without 
dealing with issues of representation and power. 
People must be empowered to speak for themselves, 

It is not enough to tell somebody else's story for 
them. Give me the tools that I need and the access 
that I need to tell my own story, in my own words, in 
my own way. And then give me the power to guaran- 
tee that my stories, that have been marginalized and 
distorted or ignored for so long, will have a voice. That 
is mulficulturism. A lot of people talk about cultural 
diversity and when they don't add power and repre- 
sentation it becomes meaningless. 

It is our hope that this program will be like little 
seeds in a large field. Some will grow and some won't. 
Hopefully the code contained in those seeds will impel 
you to embrace and transform video culture through 
public access TV in the same way all cultures embrace 
and transform the spoken word. Turn it into the glue 
that binds one another, through storytelling, and cre- 
ate communities that live in balance with the world 
around them. 

Bill Wilson 

Access is the window of 
opportunity through which 
the voiceless people can speak, 
The means by which young 
people can learn a new tradition 
and ultimately the vehicle by 
which communities in this 
communication era can explode 
with new knowledge and new 
imagery. 

I think it is appropriate that 
you chose this theme because 
each of us is a drummer in this 
tradition. Every community is a drummer in this tradi- 
tion. It is our challenge and our responsibility, those 
who have been blessed with the opportunity, the 
knowledge, to understand this communications enter- 
prise and to take that knowledge back to the commu- 
nity so that each drummer truly can be heard. But 
access itself has a story to tell and nobody else can tell 
your story the way your story must be told. 

Your story is one that opens the doors of opportunity 
by which we have citizen participation, citizen involve- 




St. Paul City 
Council Presislent 
Bill Wilson 



ment. It is the empowerment of people, with the tools 
by which to effectively communicate and bring forth 
their message. Their message is rooted in their tradi- 
tions, part of your conference is examination of those 
traditions and a very important part is the oral tradi- 
tion, folklore, mores, storytellers.' It is important to 
understand the importance these hold. It is your story 
that must be told, but your story includes our story. 
Our story, which has never been told correctly. 

My friends, that story is written through understand- 
ing the oral tradition. Because there is one tradition 
that has not been destroyed through the written word, 
oral tradition, handed down by generations, old to the 
young, the oral traditions not contaminated by the 
written word. If you listen closely to the stories that 
people tell, dig deep into their folklore, I envision those 
stories and that folklore as the truth that has been 
pressed to the earth, and held sacredly in the bosom of 
those who speak, 'fhat is the story that must be drawn 
out. Combine the great traditions, the oral traditions 
and the visual traditions. That's what access is. Letting 
people speak, letting people be seen and letting people 
be heard. 

You don't have to write it, it's already written, in an 
indelible impression in their memories. Allow those 
memories to emerge as part of a new tradition of com- 
munications. That is your challenge, that is your 
responsibility. 

I know that some of us are a little bit shaken by the 
threat to the access opportunities by recent decisions 
made in Washington. Let me tell you this my friends, I 
can well remember when there was a constitution that 
set aside a majority of the population in this country. 
We said that was wrong and must be set right, and 
went about it. Not in ten years, not in twenty years, but 
over four generations, Repeal of laws does not bring 
change, We have to commit ourselves, if we believe 
what we're doing is right, and fight for that right and 
that tradition. 

I am now challenging you as those who have access, 
a most important responsibility. Treat access as a civil 
right, a right of all citizens. 

There is no congress that can repeal a citizens right 
to access. See this as part of a movement and don't let 
a momentary flicker of sometiiing in Washington turn 
you back from something you are committed to. 

So leave this conference today with an even greater 
commitment to seeing that access is provided to all 
citizens. Bypass the written word, go back to the oral 
tradition. Go back to the people, ask them for their tra- 
ditions -that's diversity. When you get the opportunity 
to do that, do not abuse it. I well remember that diver- 
sity represented Amos and Andy for black people, the 
Cisco Kid and Poncho for Hispanics, the Lone Ranger 
and Tonto for Native Americans and Charley Chan for 
Asians. We have all those populations here today, We 
don't need to abuse. If we have access and diversity, 
then let those cultures speak for themselves as they 
truly are. 



Continued on the following pages 




Larry Johnson 

A key organizer of the 1990 
national congress on Storytelling 
and the Electronic Media, Larry 
lohnson is currently full time 
Storyteller/Whole Language 
/Video Teachers at Pillsbury 
School, With his partner, Larry 
won Grand Prize in the Tokyo 
Video Festival in 1986 for a video 
exchange between school chil- 
dren. 




Doug E. Fresh 

Tabbed as The Greatest Enter- 
ta'mner, Doug E. Fresh is known 
for having been one of the early 
innovators and great creators of 
Hip-Hop and Rap. He is the in- 
ventor of the human beat-box 
style. He is also known for his 
extensive community and hu- 
manitarian work throughout the 
country, including the Rappers 
against Racism Movement. 




Jim Northrup 

A member of the Anishnabe 
from the Fond Du Lac reserva- 
tion northern Minnesota, Jim 
Northrup is a poet, writer, story- 
teller and basket-maker who 
shares his experiences as a 
Native American and Viet Nam 
veteran. His work is syndicated 
throughout the country. He is 
the winner of the prestigious 
Lake Superior Contemporary 
Writers Award, 



CTR |uly/August 1992 7 




ONE DRUM, 
MANY DRUMMERS 



Future Editorial 
Themes Chosen 

Themes for future CTRs 
were chosen at the 
national convention. 

They include Access & 
Diversity ; Emerging 
Technologies ; Community 
Communications Collabor- 
ations ; Access & Democ- 
racy ; Access Why & How ; 
and the Convention. 

The editorial board wel- 
comed new members Larry 
Beer, Bob Devine, Vel 
Wiley, and Information 
Services Committee Chair 
Paula Manley. Special 
thanks to outgoing mem- 
bers Rick Hayes, Tom Kar- 
win and Martha Schmidt. 



1993 Convention 

"Cultural Diversity: 
Weaving Common 
Threads" is the theme for 
the 1993 Convention. The 
rich and varied ethnic her- 
itage of Atlanta will pro- 
vide the backdrop for this 
important event. As we 
become more multi-cul- 
tural, it is critical that we 
understand the role access 
plays in expressing diver- 
sity. 1993's convention 
will stress the importance 
of each voice as a "thread" 
in the social tapestry. 

The Southeast Region 
welcomes the opportunity 
to serve as host for this 
international gathering. 
For more information con- 
tact David Vogel (615) 
521-7475 or Chris Leonard 
(404) 873 6712. 



DougE. Fresh 



I'm here to explain the relationship between rap 
music and storytelling and how rap music is benefi- 
cial to everyone here today. A lot of people have a mis- 
conception of what rap music represents. Rap goes 
back as far as Africa before it was called Africa. And it 
goes back in America to a group of brothers known as 
the Last Poets who used it to explain things that were 
going on in society concerning racism and arguments 
and struggles between brothers and sisters all over the 
world. What we're doing right now is nothing new. 

Rap is one dimension of a whole culture and a whole 
movement known as hip hop. Hip hop is a form of 
livin', it's a stylin', it's a form of 
life, it's an expression. ..an 
expression of the streets and 
of the ghetto. 

Out of hip hop came rap 
And there are different dimen 
sions of rap. It can go into Rock, 
Country, R & B, and Gospel. It is 
one of the only forms of music 
that can be diluted into all differ- 
ent forms. 

I see public access as a vehicle 
for the number one form of 
music - rap. A lot of rap artists 
have a say in childrens' lives and 
the decisions they make outside of 
the family structure. I'm going to 
use my force to the fullest to try 
and help any kid. 



Check this out.. .I'm going to take 
you all on a trip. 



You know I took me a trip toAfri-ca 
A seven hour trip fromArneri-ca 
I got off the plane and what did I see 
Some brothers and sisters who looked like me 

Warm greetings 
Helios, hi's 

A lot of mosquitoes and a whole lot of flies 
Young ones tried to persuade you to buy 
To feed their families, so no one dies 
Of hunger, shelter, clothes, or starvation 
But in the ghetto it's the same s ituation 
Over big water 
So far I roam 

To find my way back home 

Now I woke up about two in the afternoon 

In the middle of December 

That felt like June 

I got on a bus 

Then all of us 

Caught a boat 

As we listened to the jams we wrote 
As the boat 

Stayed afloat, and we was close to shore 




I seen an island, one I thought I'd seen before 
I was going to ask the guide- 
But I forgot his name 

But I said it ain 't nothin', all islands are the same 

Shame, whose to blame 
For that inside sliame 

But then ! found out that Goree Island was the name 

Aim to proceed with the mystery 

Of the hidden, forbidden, history 

Now Goree island was the last place the slaves was 

brought 

Before taken to America, sold and bought. 

1 could feel it in the air when my feet touched land 

To be the first rap group to rock 
Africans 

Our distant brothers 
Great, great grandmothers 
To one another is you [salute 
Because a man without history is 
like a tree without roots 

You know I took me a trip to Afri- 
ca 

A seven hour trip fromAmeri-ca 
I Got off the plane and what did I 
see- 
Some brothers and sisters who 
looked like me 



Warm greetings 
Helios, hi's 

A lot of mosquitoes and a 
whole lot of flies 
Young ones tried to persuade 
you to buy 

To feed their families, so no 



. American 
'nine the message 
. dosing .story-"" 1 " 6 " 
onununicaiw 

one dies 

Of hunger, shelter, clothes, or starvation 
But in the ghetto it's the same situation 
Over big water 
So far I roam 

To find my way back home 
To find my way back home 
To find my way back home 

Larry Johnson 

Elaine [Wynne] and I are going to join the advisory 
committee on a cultural environment movement, 
which is being spearheaded by George Gerbncr out of 
Annenberg Communications School. For many years 
we used a quote in our storytelling classes from one of 
George's speeches that went "whoever tells the stories, 
controls how children grow up" and unfortunately 
television is telling most of the stories nowadays. He 
has gotten a little bit more radical with this new cul- 
tural environmental movement. The manifesto starts 
with "the unfortunate thing today is that most of the 
stories are being told by multinational corporations 
with something to sell and we need to do something 
about that". I believe there is no such thing as freedom 



8 July/August 1992 CTR 



of speech and democracy until all of us firmly know 
that our own stories, told in our own community are 
every bit as important as the ones that get told to us by 
national network television. 

My dad borrowed $500 from my grandfather in 1948 
and bought an old Minneapolis school building being 
torn down for the lumber, built the house we grew up 
in and paid my grandpa back in two years and never 
had a house payment. That's quite a story. I could stop 
right there. 

The house was made with stucco. Nowadays a lot of 
people make fun of stucco houses. We never did. We 
learned right away. You know that thing when your 
back itches and you ask your closest 
friend or your lover to try to help 
you. They want to, but just can 1 
quite get it. "No, a little more to | 
the left, no, no down, no." And 
they can't get it, You live in a j 
stucco house. You just go up to the 
side of the house and you're 
totally in control. It's like telling 
your own story and you can do it. 

JimNorthrup 

Res car 

It's ] 7 years old. 

Been used a lot more than 
most. 

Louder than a 747, 
Multicolored 

and none of the tires are 
brothers. 

I'm the seventh or eighth 
owner. 

I know I'll be the last. 

What's wrong with it? 
The other day the steering wheel fell off. 
The radio doesn't work. 
The heater does. 

The seats have seen more asses than a proctologist 

I turn the key it starts. 
I push the brake it stops. 
What else is a car supposed to do? 

Lifetime of sad 

She 's 50, alone and drunk. 

She has. pride in her language , hut no one to talk to. 
Some don 't understand, 
Some can't, 
Some won't. 

She's buried two husbands, 
Warriors in the whiteman's wars. 
H er children are raised and gone. 

A fine year battle with cancer. 




A longer battle with the bottle. 

She's broke and 50 miles from her empty bed. 

Alcohol failed her. 

She's too drunk to talk and not drunk enough to pass 
out. 

Her eyes show a lifetime of sad. 

She cried out for beer, smokes, attention, or affection. 
She only got the attention when she was caught stealing 
food from the house she was visiting. 
She was asked to leave. 
She left. 

50 alone and drunk. 

Manoomin (wild rice) 
Tobacco swirled on the lake as 
we offered your tlianks. 
Calm water welcomed us. 
jf Rice head's nodded in agree- 
j ment. 

Rking again, 
j Me'gwech, moni, du [phonetic] 
Cedar caressed the heads. 
Ripe rice came along to join us in 
many meals this winter. 
The rice bearded up. 
We saw the wind move across the 
lake, 
an eagle, 
a couple of coots, 
The sun smiled everywhere 
Relatives came together to talk of 
o titer lakes, other seasons. 
Fingers stripping rice while, laugh- 
ing, gossiping, remembering. 
It is easy to feel part of the generations 
that have riced here before. It felt good 
to get on the lake. 
It felt better getting off, 
carrying a canoe full of food, 
and centuries of memories. 

Susan Robson 

In Australia the people born of that land's ancient 
native traditions speak of seed power. In their world 
view, every meaningful activity, event or life process 
that occurs at a particular place leaves behind a vibra- 
tional residue in the earth, just as plants leave behind 
an image of themselves as seeds. Everything in the 
world is a symbolic foot print of what came before it. 
We need to transform what we do in terms of video 
into a kind of seed power. Video images leave foot- 
prints in our minds, our consciousness that affects our 
values and shapes our identity, all too often negatively, 
We need to plant new seeds that help us grow in the 
oral and sign traditions of all segments of our society. 
Tire power of public access TV can be a measure to the 
extent to which it fulfills this mission. 




ONE DRUM, 
MANY DRUMMERS 



Convention Tapes 
Still Available 

Miss a key workshop at 
the 1992 NFLCP Conven 
tion? Want to share one 
with your staff? Maybe 
you weren't able to 
attend? Whatever the rea- 
son, recapture it with a 
convention video tape. 

All convention work- 
shops and keynotes are 
available. Tapes are two- 
hour 1/2" VHS. NFLCP 
member prices are '23 
each for 1-5 tapes, '21 for 
6-8, and '19 for nine or 
more. Non-members add 
'5. Proceeds to the NFLCP. 

A list of sessions and 
order form was in the con- 
vention program, or is 
available from Davis 
Community Televi sion, 
1623 Fifth Street, Suite A, 
Davis, CA 95616. Phone 
916/757-2419. 



T-Shirts Too. . . 

Supplies are limited, but 
some 1992 Convention 
T-Shirts remain available. 

Sure to be a collector's 
item with the name change, 
the shirts (50 cotton/50 
Polyester) are white, fea- 
ture the convention logo, 
and are available in large or 
extra-large. Cost Is 515. 

Checks should be made 
out to NFLCP and sent to: 
Tony Riddle, MTN, 125S.E. 
Main Street, Minneapolis, 
MN 55414. Be sure to state 
size and quantity. 

CTR |uly/August 1992 9 



In August, CTR Editorial Board Chair, Dirk 
Koning, talked with National Community 
Network's (NCN) president, James W. 
Dickson, to flush out some facts about this pro- 
posed satellite network. With donated office 
space and initial funding from industry guru Bill 
Daniels, three staff members are planning this 
$4-$6 million network launch for late 1993 with 
"the best of local access/origination program- 
ming from around the country. " 

Who is behind NCN, and what do you think is 
motivating them? 

Currently, NCN is being supported by some 
seed money provided by Bill Daniels; and it's a 
Bill Daniels project, not a Bill Daniels & 
Associates project, and some other MSO's. The 
reason they're behind this is they see this as a 
public service that cable can offer. Obviously, 
cable's image has taken a beating here in recent 
years, and they feel that something like this 
would have a positive value in the communities 
they serve, and for them be a good public rela- 
tions tool that they could benefit the commu- 
nity through offering our service and perhaps 
national exposure of their communities, as well 
as financial support of the community access 
efforts that the non-profit foundation tied in to 
the NCN office. 

Could you tell us a little bit about the organi- 
zational structure of NCN? 

It is a non-profit company. As a non-profit 
company, we'll be charging an affiliates fee of 
the cable operators, and those monies will be 
used to obviously run the network. We are 
going to need studio space, and editing rooms 
for all the product that would come in. Any 
monies that are left over after our expenses are 
covered, are going (o go into a fund balance, 
which would basically be kept at a six-month 
operating level for the company, which is a 
standard operating procedure for all non-profit 
companies, based on, like, the American Cancer 
Society model. And the monies beyond that 
then are returned to local access groups through 
the form of a foundation and grants that would 
be offered through the company. So local access 
groups can apply for this money and receive it 
for either new equipment, personnel, or pro- 
ductions, wherever they feel it's going to be best 
spent for them. 

To be eligible, will they have to be non-profit 
and provide programming to the network? 

No. Not necessarily. There will be a founda- 
tion through a board that will review these 
grants; and this board will be made up of local 
access people, as well as Community Network 
people. 

Are independent producers eligible? And 
local origination? 

. . . the access group. If they want to give it to 
an independent producer, that's their preroga- 
tive. It all goes through the access group to help 
fund more community access efforts. 

Do you have any business plan projections 
for say, one year into this after launch? What in 
fact may be available in that foundation fund? 

10 July/August 1992 CTR 



Community Television 
Review Interview 

NATIONAL 
COMMUNITY 
NETWORK? 

Dirk Koning talks with 
NCN Resident James W. Dickson 



Currently, in year one, in year two, there 
would be no money in the access foundation as 
we build to a level in our fund balance to cover 
six months' operating expenses. Once we get 
those monies in, we're talking in the third year 
of about a million dollars going back to the 
access foundation. Now that is based on a sub- 
scriber count of 10 million subscribers at that 
point, very conservative numbers. 1 think. It 
could be higher. If the count is higher, the 
return could come in the second year, if we 
reach those levels. 

Isn't "National Community Network" an 
oxymoron? 

How do you mean? 

Well, National and Community, how in fact 
can community television be national? 

Well, I think that if you talk about the "global 
village" and how communication has shrunk 
the world, that you can, as a community, defi- 
nitely learn from the rest of the nation. You 
don't have to reinvent the wheel every time you 
have a problem or a situation that has been 
faced in another community, if something tried 
and failed, if something tried and worked: if we 
can provide some sort of linkage between these 
communities in electronic media, so much the 
better. But if we can get ordinary people talking 
to one another through community access and 
through National Community Network, then I 
think we will be better off. 

How would you answer critics' concerns 
that, in fact, NCN just wants to take the "best of 
the best" of access and present it to make the 
industry look good? 

Well, I don't know that that's all that bad. Let 
me put it this way: if cable provides an outlet for 
compelling programming, and 1 think that 
maybe we ought to look at compelling vs. qual- 
ity. I think we're going to be looking more at 
content for the standard for quality, as opposed 
to production values. Okay? Content is number 
one, not a production value; but if we can pre- 
sent something that is visibly and intellectually 
appealing to a mass audience, you will attract 
more people. When you attract more people, 
because we are a backdrop or wraparound ser- 
vice, it attracts more people to the local product. 



I don't see anything wrong with that, plus it 
gives that national outlet for that quality prod- 
uct, and exposure for those great producers and 
those access groups that are helping them. 

What satellite will NCN be on? 

We don't know at this point. 

How much will the initial cost per sub be at 
launch? 

Weil, we're looking at 3 cents a sub right now 
in our financial model at this point. If we can 
cut our costs and get it down to 2 cents per sub- 
scriber, if we have enough subscribers come on 
early enough, we will. 

How will you convince operators not to cut 
back on any current access funding or pro- 
gramming if, in fact, they contribute that 3 
cents per sub? 

Well, I think this will encourage more local 
activity. That will be positive for the cable oper- 
ator locally. If we get more people interested in 
doing things locally, and that is transferable to a 
cable operator in good community relations, 
especially in the light of refranchising coming 
up in many, many cases, I think they will defi- 
nitely support that effort. We are not meant to 
replace any localness of access. We are trying to 
encourage it. 

How can you guarantee that "quality", 24- 
hour-a-day programming of access won't 
replace a not- as-popular local access channel? 

I really haven't seen it as a possibility. I think 
that the community, upon viewing the efforts of 
other communities and other access groups, 
would probably encourage their access group 
to become more active, by either, hopefully, 
some more donations from the business com- 
munity, maybe some foundalion money, our 
foundation money, you know, hopefully it will 
make that effort that much stronger, because 
again, if you take away the localness, and you 
don't provide local access, you eventually take 
away the source of the National Community 
Network; so it's self-defeating in that scenario. 

Who will decide what programs should be 
sent to the satellite? 

That will be an advisory board of National 
Community Network people, as well as access 
group people and some cable operators who've 
directed programming and the like, there 
would be three people who would be directly 
involved in these efforts. 

And how will you handle controversial pro- 
gramming? The never-ending question on 
public access across America. 

Well, what we would like to do is offer a 
point/counterpoint style. If you have a contro- 
versial issue, let's take abortion as a for 
instance. I would like to program it with a 
point/counterpoint format with a Pro-life fol- 
lowed by a Pro-Choice view. Now we will not 
take "hate" programming, nor will we take 
"blue" programming. And that's really a ques- 
tion of marketing. Cable operators and commu- 
nities do not want that in their communities, 
and it's a marketing question. If these people 

Continued on inside back cover 



1992 Hometown USA Video Festival Winners Announced 



The NFLCP honored 110 win- 
ners in the 1992 Hometown 
USA Video Festival July 16 at 
the World Theatre in St. Paul 
Minnesota, during the NFLCP 
National Convention. 

Winning entries were selected 
from nearly 2,100 entries produced in 412 
cities from 40 states and three Canadian 
provinces. 

German town, Tennessee - with all of its entries 
submitted by the Germantown High School's 
"GHS-TV" - received six awards, the highest num- 
ber of winners from one community. Winning 
entries came from 71 cities across the United 
States and Canada. 

Eight major "Overall Excellence" awards were 
presented. "Overall Excellence in Public Access" 
went to the DeKalb Center for Community 
Television of Decatur, Georgia (Annual Budget 
under S400,000) and the Fairfax Cable Access 
Corporation from Fairfax, Virginia (Annual Budget 
$400,000 or more), "Overall Excellence in 
Educational Access" went to Germantown, 
Tennessee's "GHS-TV" (Annual Budget under 
5400,000) and the Sacramento Educational 
Consortium from Sacramento, California (Annual 
Budget 5400,000 or more). "Overall Excellence in 
Government Access" honors went to Rochester 
Hills Channel 55, from Rochester Hills, Michigan 




(Annual Budget under $400,000) and City TV of 
Santa Monica, California 
(Annual Budget $400,000 or 
more). "Overall Excellence in 
Local Origination" went to 
Selkirk Communications from 
Fort Lauderdale, Florida 
(Annual Budget under $400,000) 
and Rogers Community 10 from 
Toronto, Ontario (Annual Budget $400,000 
or more). 

The NFLCP's Hometown USA Video Festival, now 
in its 15th year, is the largest video festival honor- 
ing achievements in local cable programming. 

The Festival recognizes outstanding local pro- 
grams that are produced by or for public, educa- 
tional, government access facilities and by local 
origination departments of cable systems and 
libraries. 

Sponsors of the 15th Hometown USA Video 
Festival included Arts & Entertainment; Bravo; 
Commodore Business Machines; Cox Cable 
Communications; Little City Foundation/Project 
Vital; Mind Extension University; Multichannel 
News/Cablevision; 3M Professional Audio/Video & 
Specially Products Division; and The Travel 
Channel. 

A list of winners follows. Single programs are 
indicated with the A symbol, and series program- 
ming with a >. 



Hometown USA 
Tapes Available 

Tapes of the Hometown USA 
Video Fesitval Awards Night 
ceremony and the Hometo wn 
Bicycle Tour are now available 
from the national office. 

The two-hour awards cere- 
mony tape is $45 for members, 
$60 for non-members, on 1/2" 
VHS, or at $55 and $70 respec- 
tively for 3/4 " tapes. 

The three-tape Bicycle Tour, 
featuring excerpts from selected 
Hometown winners is avail- 
able at $50 for members, $65 
for non-members, on 1/2" VHS, 
or at $60 and $75 respectively, 
for 3/4" tapes. 

For more information, or 
ordering, contact the NFLCP at 
666 1 1th St. NW, Suite 806, 
Washington, DC 20001 -4542, 
or telephone 202/393-2650. 



ABOUT PUBLIC ACCESS-PROFESSIONAL 

A Then and Now: A History ofAccess In Somerville, 

Carol Sibley. Somerville Community Access 
Television - Somerville, MA 

ABOUT PUBLIC ACCESS- VOLUNTEER 

A TalklnTV w/Lance, B. David Lee, Arlington 
Community Television - Arlington, VA 

BEST ACCESS PROMO- PROFESSIONAL 

> MVCC Promos, Dave Cordon, et al, Miami Valley 
Cable Council • Centervilie, OH, Miami Valley 
Cable Council 

A NewTomorrow, Dave Gordon, Miami Valley 
Cable Council - Centervilie, OH 

BEST ACCESS PROMO-VOLUNTEER 

A NIghtScene Promo, Lanny Swerdlow, Portland 
Cable Access- Portland, OR 

ARTS PROGRAMMING- PROFESSIONAL 

> In The Spo lllght, Greg Goere, RogersConimunity 
10 Toronto -Toronto, ON 

AThe McDowell Gateway Arch, Sherri Hildebrand, 
Cable 35, The Phoenix Channel- Phoenix, AZ, 
Dimension Cable/Cable 3S 

ARTS PROGRAMMING VOLUNTEER 

> Where The Waters Meet, Mark Mars and 
Christina Zawadiwsky, MATA- Milwaukee, WI 

A Epelsodlon, Aki Spicer and Shawn Shepard, CAU 
TV- Atlanta, GA 

COMPUTER ART-PROFESSIONAL 

A Definitely DilferenlStatlon ID, Merrill Lynn 
Holland, Pittsb urgh Community Television- 
Pittsburgh, PA 

COMPUTER ART-VOLUNTEER 

AAccessTech, Daniel Hampson, WCTV- Wheaton, 
IL 

DOCUMENTARY EVENT-PROFESSIONAL 

A Mary & Lizzie, Jeremy Smith, Grass Roots TV- 
Aspen, CO, Grass Roots Television Inc. 



DOCUMENTARY EVENT-VOLUNTEER 

AThe Penn Slate Dance Marathon 1991, Kevin 
Matuszewski, C-NET - State College, PA 

DOCUMENTARY PROFILE- PROFESSIONAL 

A Radio FIshlown, Henry Ferrini - Gloucester, MA, 
New England Cablevision 

DOCUMENTARY PROFILE-VOLUNTEER 

A Sweet Harmony, Julie Ann Braly - Davis CA, 
Davis Community Television 

DOCUMENTARY PUBLIC AWARENESS- 
PROFESSIONAL 

A Bound by the Wind, David Brown - San 
Francisco, CA Channel 25 

DOCUMENTARY PUBLIC AWARENESS 
VOLUNTEER 

A Back-Al ley Delroll: Abortion Before Roe v. 
Wade, Dan Friedman Si Sharon Grimberg - Yellow 
Springs, OH, Mow Springs AccessS 

EDUCATIONAL-PROFESSIONAL 

> "Schoolworks" Series, Mitch Tlustos and Lance 
EUiort, Tualatin Valley Community Access- 
Beaverton, OR 

A Give Science A Hand - "King of the Butterflies", 

DavidZahren, Prince Georges Coun ty Public 
Sch.-Landover, MD 

EDUCATIONAL- VOLUNTEER 

> Wake Up, German iown!, Frank Rlueslein, etal, 
GHS-TV- Germantown. TN 

A The Quote of the Weak, Joe Balsanek - 
Rosemount, HN, Northern Dakota County Cable 

ENTERTAI NME NT-P ROFESSIONAL 

> FemaleTrouhle, Sabrina Santos, Tapeheadz 
Productions- Cambridge, MA, Cambridge 
Community TV 

A lust Kidding, Scott Clement, Montgomery 
Community Television- Rockville, MD 



ENTERTAINMENT- VOLUNTEER 

> Rob & Bill's Taik Show, Rob Blackman - Raleigh, 
NC, Raleigh's Cable 10-TV 

ACIazlon Catches Light, Lisa Dalton, Loving 
Management - Burbank, CA, Beverly Hills 
Television 

ETHNIC/CULTURAL EXPRESSION- 
PROFESSIONAL 

> Hoosler History, Rick Maultra, TV 16 - 
Indianapolis, IN, Government Cable Channel 16 

A Gaman: The Internment Remembered, Steve 
LaRosa, KV1 E Cable V Sacramento, CA 

ETHNIC/CULTURAL EXPRESSION 
VOLUNTEER 

> Oriental Express, Richard Reichel, Conquest- 
Palm Harbor, FL, Vision Cable of Pinellas 

A The Keeping Quill, Leslie Finke, Access 
Sacramento - Sacramento, CA 

FREE SPEECH MINUTE-PROFESSIONAL 

A Good for a Heal thy Constitution, Amy Leahy, 
HOM-TV-Okemos,MI 

FREE SPEECH MINUTE VOLUNTEER 

A What Could Happens, Craig Bryant, Community 
Access Television - Industry, CA 

GAY & LESBIAN PROGRAMMING 
PROFESSIONAL 

A Be True to Yourself, ludy .Anderson, 21st Century 
News, In. - Tucson, AZ, Tucson Community Cable 
Corp. 

GAY k LESBIAN PROGRAMMING- 
VOLUNTEER 

> Gay Fairfax, Rob Wilson, Fairfax Lesbian k Gay 
Citizens Assn. - Springfield, VA, Fairfax Cable 
Access Corp. 

A Pride And Prejudice, Dorothy Engleman, CityTV 
of Santa Monica- Santa Monica, CA 

INFORMATIONAL-PROFESSIONAL 



> Consumer Focus- Qulzihe Consumer, Linda 
Lewett, Dept. of Consumer Affairs- Fairfax, VA, 
Fairfax County Channel 16, 

A In Hot Pursuit, South Bay's Most Wanted, 

Michael Smith, Torrance Office of Cable 
Communications- Torrance, CA, CitiCab!e22 

INFORMATIONAL-VOLUNTEER 

A Operation Storm the Media, Xav Laplae,Paper 
TigerTelevision- New York, NY 

> Repo rltShelby County Schools, Frank Bmestein, 
et al, GHS-TV Germantown, TN 

INNOVATIVE-PROFESSIONAL 

> The Meadowlands Showcase Presents.., Michael 
Raso, Comcast - Lyndhurst, NJ, Comcast 
Cablevision 

A Don't Have A Cow, Steven Brooks, Cambridge 
Community TV, Cambridge, MA 

INNOVATIVE-VOLUNTEER 

> Ozone Sadio, Sphinx Production Group, 
MinneapolisTV Network Minneapolis, MN 

A Clazlon Catches Light, Lisa Dalton, Loving 
Management ■ Burbank, CA, Beverly Hills 
Television 

INSTRUCTIONAL/TRAINING 
PROFESSIONAL 

> City Gardening, Silvia Wineiand, Rogers 
Community 10 Toronto - Don Mills, ON 

A Onder The Microscope - "Science In the Great 
O utdoors", David Zahren, Prince Georges County 
Public Sch.-Landover.MD 

INSTRUCTIONAL/TRAININC- 
VOLUNTEER 

> KtdSIgn, Part Pagan, Lockport Community Cable 
Commission - Lockport, NY 

A 9 1 1 E mergency, Patrick Stelte - Ft. Wayne, IN, 
Pubb'c Access Channel 10 

INTERNATIONAL-PROFESSIONAL 

A Voices Of Palestine, Maggj Carter, MinneapoOs 

CTR July/August 1992 11 



\ -Single Program 
>- Series 



Television Network - Minneapolis, MN 

INTERNATIONAL VOLUNTEER 

> This Is India, Dr. Artindkumar Parikh - New 
Orleans, LA, Cox Cable of New Orleans 

A Harljan, Jim LoScalzo, DCTV- Washington, DC, 
DCTV 

LIVE-PROFESSIONAL 

> No Dogs or Philosophers Allowed, Ken Knisely, 
Milk Bottle Productions - Arlington, VA, Arlington 
Community TV 

A No Dogs or Philosophers Allowed, Ken Knisely, 
Milk Bottle Productions • Arlington, VA, Arlington 
Community TV 

LIVE-VOLUNTEER 

> Chatterbox, Lisa Gregor and Carroll Sadler, Jones 
Intercable Public Access Center- Tampa, FL, 
Jones Intercable Pubic TV 

A Prevention "Live", Renee' Navarro - Troy, MI, 
United Artists Cable 

LOCAL NEWS-PROFESSIONAL 

> NewsCenter 1 3, Rene Kochman & Jim Phillips, 
Greater Fall River Cable Television- Pall River, 
MA, Gr Fall Riv/WMng City Cable 

LOCAL NEWS-VOLUNTEER 

> Wake Up, German townt, Frank Bluestein, et al, 
GHS-TV- Germantown, TN, GHS-TV 

LOCAL ORIGINATION PROGRAM 
PROMOTION-PROFESSIONAL 

A The Making o [a Local Sports Telecast, Thomas 
Brunt, Suburban CotamtwityTdevision- 
Doylestown, PA, Suburban Cable-Jajnison 

MAGAZINE FORMAT-PROFESSIONAL 

> Community Line, Andrea Brody - New York, NV, 
Paragon Cable Manhattan 

MAGAZINE FORMAT-VOLUNTEER 

> POSTI The Alternative Music Video Magazine, 

Cheri LTutlle, et al, CyberMedia Productions- 
Palo Alto, CA, De Ania College Community TV 

MUNICIPAL-PROFESSIONAL 

> PubllcSafety Forum, Brother Diehard 
Emenecker, Pittsburgh Bureau of Cable 
Corrmnuiicaiion - Pittsburgh, PA- City of 
Pittsburgh 

A Denver plre Fighters, TaJliver Hare, Office of 
Television Services- Denver, CO, Channel 28, 
Mde Hi Cable 

MUNICIPAL-VOLUNTEER 

> Meridian Magazine, Ben Stark, HQM-TV- 
Okemos, MI 

A Meridian Magazine, Ben Stark, HOM-TV- 
Qkemos, MI 

MUSIC VIDEO-PROFESSIONAL 

A The Urge, John Marschitz • Wheaton, 1L WCTV 

MUSIC VIDEO-VOLUNTEER 

AThe Maiden Sen lor Citliens Harmonica Band, 
Monique Johannet, Somerville Community 
Access Television Somerville, MA 

ORIGINAL TELEPLAV PROFESSIONAL 

A Dream Dealer, Rob Sheppard, Cable TV Nor th 
Central- Eagan, MN 

ORIGINAL TELEPLAY VOLUNTEER 

A Illusions, Kurt Kuenne - San lose, CA, Cupertino 
Community Television 

OVERALL EXCELLENCE IN 
EDUCATIONAL ACCESS, ANNUAL 
BUDGET LESS THAN $400,000 

Excellence In Education, Frank Bluestei n, et al, 
CHS-TV-CerironlouaJN 

OVERALL EXCELLENCE IN 
EDUCATIONAL ACCESS, ANNUAL 
BUDGET $400,000 OR MORE 

Overall Excellence In Educational Access, 



FJizabeth Rhodes, Sacramento Educational Cable 
Consortium- Sacramento, CA, SECC 

OVERALL EXCELLENCE IN 
GOVERNMENT ACCESS, ANNUAL 
BUDGET LESS THAN {400,000 

Overall Excellence, Rene Blatte and Jamie Smith, 
Coimnunications Unit - Rochester HiUs, MI, 
Rochester Hills Channel S5 

OVERALL EXCELLENCE IN 
GOVERNMENT ACCESS, ANNUAL 
BUDGET $400,000 OR MORE 

Overall Excellence Entry, Laura Greenfield, CilyTV 
of Santa Monica- Santa Monica, CA 

OVERALL EXCELLENCE IN LOCAL 
ORIGINATION, ANNUAL BUDGET LESS 
THAN $4000,000 

Overall Excellence In Local Origination, Jennifer 
Shaw Wilder, Selkirk Communications, Inc.- El. 
Lauderdale, FL 

OVERALL EXCELLENCE IN LOCAL 
ORIGINATION, ANNUAL BUDGET 
$400,000 OR MORE 

Overall Excellence Entry, Ed Nasello, Rogers 
Community 10 Toronto - Don Mills, ON 

OVERALL EXCELLENCE IN PUBLIC 
ACCESS, ANNUAL BUDGET LESS THAN 
$400,000 

Overall Excellence Compilation, Nancy Lowe, et a], 
DeKalb Center for Community Television - 
Decatur, GA, DeKalb Center for Community TV 

OVERALL EXCELLENCE IN PUBLIC 
ACCESS, ANNUAL BUDGET OF 
$400,000 OR MORE 

Overall Excellence, Fred Thomas, etal, FCAC- 
Eairfax, VA 

PERFORMING ARTS PROFESSIONAL 

> Mt Hood Festival of Jazz '91, Rose Read and 
Chris Steele, Multnomah Community TV- 
Gresham, OR 

A Wlnton Woods H.S. Holiday Show a! Krohn 
Conservatory, Glenn Ha/tojig, etai Waycruss 
Community IV - Forest Park, OH 

PERFORMING ARTS-VOLUNTEER 

> Music from the Source, Thomas Scheuzger- 
Watertown, MA, Continental Cablevision 

A Clarion Catches Light, Lisa Dalton, Loving 
Management - Burbank, CA, Beverly Hills 
Television 

PROGRAMMING BV SENIOR CITIZENS- 
PROFESSIONAL 

> Senior Focus, lee Murray- Detroit, Ml 
North Central 

A Seniors Off Their Rockers, Dorolhyjund, et al, 
City Of Coon Rapids - Coon Rapids, MN, Cable 
TV North Central 

PROGRAMMING BY SENIOR CITIZENS- 
VOLUNTEER 

> Senior Glimpses, Anne Perry, Dearborn Seniors 
Video Club- Dearborn, Ml, Cablevision of 
Dearborn 

AHeadsVouWIn, VitinaAcciaioE.SWOakland 
County Cable Commission- Farmingtot) Hill, MI, 
Metrovision of Oakland County 

PROGRAMMING FOR SENIOR CITIZENS- 
PROFESSIONAL 

> Senior Times, Valerie Bey, Dept. Of Consumer 
Affairs- Fairfax, VA, Fairfax County Channel 16 

A 1 ntergeneratlonal Chorus, Brian Aungst Sr., 
Vision Cable of Pinellas, Inc. - Clearwater, FL 

PROGRAMMING FOR SENIOR CITIZENS- 
VOLUNTEER 

> Senior Beat, John Noonanand Darlene Mendbza, 
Continental Cablevision of Quincy ■ Quincy, MA 

A Texas Senior Games, James Blakely, M,D„ - 
Dallas, TX, Cable Access of DaBas 



PROGRAMMING BY YOUTH- 
VOLUNTEER 

> Back Porch Video, Sean Baran, W.D.H.S. Studio- 
Deatborn, Ml, Dearborn Cablevision 

A Youth Action News, Itavenswootl Video Posse, 
Jesse Norfleet, et al, Mid-Peninsula Access 
Corporation - Palo Alto, CA 

PROGRAMMING FOR YOUTH- 
PROFESSIONAL 

> KldsVlew, AlanTaffeL Selkirk Communications 
Inc.- Ft, Lauderdale, EL 

AThe Quandary Foundry, Michael Spencer, Office 
of TV Services- Denver, CO, Channel 28, Mile Hi 
Cable 

PROGRAMMING FOR YOUTH- 
VOLUNTEER 

> Wake Up, Germantownl, Frank Bluestein, et al, 
GHS-TV - Germantown JN 

A Escape, Frank EJuestein, et al, GHS-TV - 
Germantown, TN 

PUBLIC SERVICE ANNOUNCEMENTS- 
PROFESSIONAL 

> Direct Effect, JimMcKay, Direct Impact- Athens, 
CA, TCI Cable 

A Loaded, James Whitaiet - Washington, DC, 
WNUV TV Baltimore 

PUBLIC SERVICE ANNOUNCEMENTS- 
VOLUNTEER 

> Leather Men / living Legends, Michael J. 
DelBene, et al, East Side Productions 
Providence, II, Cox Cable RI 

A I'll Quit Tomorrow (Drug PSA), Chris Hafner, 
Communications Dept., Palomar College- San 
Marcos, CA, Daniels Cablevision 

RELIGIOUS-PROFESSIONAL 

> Contemporary Christian Music Videos, Steven 
Manning, Public Access Channel 10 ■ Ft. Wayne 
IN 

A Cathedral of the Immaculate Conception: A 
Guided Tour, Beth Machall, Allen County Public 
Library- Ft. Wayne, IN, Channel 10 

RELIGIOUS-VOLUNTEER 

> leach Out" Video Special, Anthony Stefanini, 
ArxcssBellinghamlnc, - Bellingham, MA, 
Cablevision Public Channel 8 

A The Rock Diaries, Peter Cetnoia, et al, Outlaw 
Ministries- West Somerville, MA, Somerville 
Community Access 

SPORTS-PROFESSIONAL 

> CablevIslon'sSummer SportsMght, Brien 

McNeill, CaMevision of Long island - Hattppauge, 
NY, Cablevision of Long Island 
A Roadrunner Hockey, Stew Radawec, City of 
Glendale ■ Glendale, AZ, CitlCable Ch. 4 

SPORTS- VOLUNTEER 

> Eagles Basketball, Michael Finnerly, et at Sharon 
Community TV Sports Crew- Sharon, MA Sharon 
Community Television 

A CambrldgeSports, Rkhard Dsigm Camhfidge, 
MA, Cambridge Community Television 

TALK SHOW-PROFESSIONAL 

> No Dogs or Philosophers Allowed, Ken Knisely, 
Milk Bottle Productions- Arlington, VA, Arlington 
Community TV 

A Profile of an EpidemlcKespondlng to AIDS, 

James Welsh, Jones Intercable Public Access 
Center- Tampa, FL, Jones JnteicabJe PubJic TV 

TALK SHOW-VOLUNTEER 

> Slumber Party, N.J. Heubusch, - Arlington, VA 
Arlington Community Television 

A Windham Watch, Barbara Coish, Windham 
Community Television - Windham, NH 

VIDEO ART-PROFESSIONAL 

A Mary * Lfaie, Jeremy Smith Grass Roots TV - 
Aspen, CO, Grass Roots Television Inc. 

VIDEO ART-VOLUNTEER 

A Tree, Michael Seitz, PCTV - Gresham, OR, 
M ul rnomah Community T elevision 



CTR 

CLASSIFIEDS 



Reach your m.rket ; or job open- 
ings, jobs wanted, equipment, 
etc. with a CTR Classified. 
Member rates: 15C per word, 
25C per hold face word. NGn- 
Mernber rates: 20C pet wore, 
30C per bold face word. Please 
contact Community Television 
Review, 15 Ionia SW, Suite 201 
Grand Rapids, Michigan 49503 
Telephone 616.454.6663 
FAX 616.454.6698. 



JOB OPENINGS 



SUPPORT PERSON NEEDED 

The National Federation of 
Community Broadcasters 
(NFCB), a small non-profit national 
membership organization for non- 
commercial radio, is adding an 
entry level administrative and 
member services -support person 
to our team. This person must be 
reliable and flexible - willing to be 
responsible for on-going adminis- 
trative duties; as well as taking 
on project related and annual 
conference support activities, 
please send resume and cover 
letter by October 16, 1992 to: 
NFCB, 666 11th St. NW, Suite 
805, Washington DC 20001, 
EOE 

EXECUTIVE DIRECTOR 

VERMONT community seeks 
Executive Director' for new PEG 
access facility. Send resume with 
salary requirements: Cable 
Advisory Board, PO Box 677, 
BrattJeboro, VT, 05301. 

NFLCP JOBL1NE 

For access jobs across America, 
or to post openings, call the 
national office's Jobline at 
202/393-2653. 



RESOURCES 



A few back issues of CTR remain 
available for purchase from the 
national office. Among them are 
the Voices of Democracy, First 
Amendment, Fund raising, Fran- 
chise renewal and Independents 
issues. Supplies limited. Mem- 
bers Si each, Non-Members $2. 
Minimum order of five p'ease. 
Contact the national offiice to 
assure availbility. 



12 July/August 1992 CTR 



Continued from page 10 



are going to be paying for it, the cable operators, 
I can't sell it with that product. People that 
watch public access for the most part are very 
intelligent people. They're very active people in 
their communities and in politics, and culturally 
and socially active people, and I think that they 
would prefer to have stimulating programming 
like this, and even if they are in one political 
sphere, I think they would be open enough to 
want to see the other side of the story. 1 think 
that everybody should at least be heard, and this 
offers that. 

Who will be liable for programming claims 
and/or disputes? 

Well, I think that the liability will be basically 
laid with the access group. We would hope that 
they would prescreen their material sent in to us 
to avoid that situation. They will be identified as 
the source, because people want to be recog- 
nized for their efforts, and we're certainly going 
to do that. That's part of the appeal obviously, 
too, is that here I have a national program on 
national TV; and I would want releases to pro- 
tect ourselves in that case. The access group 
submits all programming to us, not the inde- 
pendent producer. All the programming that we 
would air, will have been aired locally first, 

Will independent producers receive any 
compensation for their programs? 

No. 

Will there be any editing of producers' work? 

We would like them to do the editing to fit our 
time formats. Well, I mean, if there is full frontal 
nudity in this segment, we would ask (them) to 
either block it out or take it out. NCN does not 
want to be the editor of an artist's work. These 
are artists out there, in many cases, who can do 
a better job of maintaining the wholeness of the 
content than we can. 

How will NCN differ from the Deep Dish 
Television Network, and do you think there's 
room for both? 

Oh, I absolutely think there's room for both. 
Deep DishTelevision is more activist program- 
ming, ... and I think Deep Dish has done a won- 
derful job and should continue to be supported, 
and again it's up to the access group to tell when 
we're on. 

Are there any plans for ICN in the future, 
International Community Network? 

It has been discussed. This would be a service, 
obviously, that would be perhaps more com- 
mercial, as it's not going to necessarily fill the 
role of access, as we know it right now in our 
community. Rut I do think, again, that our world 
is getting much, much smaller through telecom- 
munications. I feel that, if we can get ordinary 
citizens communicating around the world with 
one another, it's going to hopefully generate 
more understanding among one another. If we 
get more understanding among one another, it 
goes a long way to keeping the peace. If we can 
create a people-to-people type of network, like 
NCN is intended to be, through an international 
effort, I think the value is priceless. 



r 



Crunch numbers in seconds instead of hours since 
you have better things to do, like inspire access. 

Online support for reports, equipment use, 
channel scheduling, marketing, and more. 

See us at the NFLCP Convention. 
^ Contact us for more details, 

Metalogue, Inc. 
703.273.9003 
3405 Park Hill Place • Fairfax VA 22030 



J 



❖ Join the CTR Editorial Board ♦> 

The Community Television Review Editorial Board has an opening! The CTR Editorial 
Board plays a critical role in developing the CTR - our organization's most visible 
publication. Membership on the CTR Editorial Board is open to all NFLCP members. 

What do Editorial Board members do? 

>- Select annual themes for CTR (6 issues per year). 

>- Develop timelines, identify authors and solicit articles for CTR. 

>- Review CTR content. 

>- Meet regularly via conference calls, plus onco during the annual NFLCP Convention. 
>- Work closely with the CTR Coordinator and make recommendations to the NFLCP 
National Board's Information Services Committee. 

Qualifications for Applicants to the Editorial Board? 

>- Commitment to community communication, community access television and 

the First Amendment. 
>- Current membership in the NFLCP. 
>- Ability to participate in the Editorial Board meetings. 
>- Applicants should be well organized. 

>- Some experience with writing, editing, word processing and/or publishing would be 
helpful but is not required. 

Interested? Applications are due October 16, 1992, 

For an application, or more information, contact: 

Paula Manley, NFLCP Information Services Committee Chair 
c/o Tualatin Valley Community Access 
1815 NW 169th Place, Suite 6020 
Beaverton, OR 97006 
(503) 629-8534 Voice • (503) 624-0855 TDD • (503) 645-8561 Fax 



CTR Jul/Aug 1992 13 



• . . . increasing awareness 
of Community Television 
through educational programs 
and participation in court cases 
involving franchise enforcement 
and constitutional questions 
about access television. 9 




An Invitation to Join the 

Alliance for Communications Democracy 

Become an Alliance Subscriber for $350/year and receive detailed reports on 
current court cases threatening access, pertinent historical case citations, and other 
Alliance activities. 

• Voting membership open to non-profit access operations for an annual 
contribution of $3,000. 

• Non-voting memberships available to organizations and individuals at the 
following levels: 

>- Alliance Associate, $2500 - copies of all briefs and reports. 
>- Alliance Supporter, $500 - copies of all reports and enclosures. 
>~ Alliance Subscriber, $350 - copies of all reports. 

Direct membership inquiries to Fred Thomas, Fairfax Cable Access Corporation, 
2929 Eskridge Rd„ Suite S, Fairfax, VA 22031, or phone {703} 573-1090. 

Voting Members: Chicago Access Corporation, Illinois • Montgomery Community Television, Inc., 
Virginia • Columbus Community Cable Access, Inc., Ohio • Staten Island Television, New York • Boston 
Community Access & Programming Foundation, Inc., Massachusetts • GRTV, Grand Rapids, Michigan • 
Tuscon Community Cable Corporation, Arizona ■ Olelo: The Corporation for Community TV, Hawaii. 

Non-voting Members: Multnomah Cable Regulatory Commission, Oregon • Oakland County 
Cable Corporation, Michigan • Ann Arbor Community Access Television, Michigan • Capital Community 
TV, Oregon • Multnomah Community TV, Oregon • NFLCP Central States Region" NFLCP Far West Region. 



National Federation of 
Local Cable Programmers 

community television review 
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